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Storytelling in Practice: Brand Narratives and Archetypes


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Special topics information session for Fielding Graduate University PhD program with doctoral concentration in Brand Psychology & Audience Engagement.

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Storytelling in Practice: Brand Narratives and Archetypes

  1. 1. Storytelling In Practice BRAND NARRATIVES & ARCHETYPES ​Brand Psychology & Audience Engagement Doctoral Concentration ​Fielding Graduate University ​Dr. Pamela Rutledge Fielding Graduate University • @pamelarutledge
  2. 2. 2| What’s My Story? ​Faculty, Fielding ​Lead Faculty: ​Brand Psychology & Audience Engagement Doctoral Concentration ​Positive Psychology & Media Doctoral Concentration ​Director, Media Psychology Research Center ​Blogger Psychology Today, Positively Media ​Recent publications: ​Exploring Positive Psychology: The Science of Happiness and Well-Being Co-Author ​Media Psychologists in APA’s Career Paths in Psychology ​The Psychology of Mobile Media in Global Mobile ​Arguing for Media Psychology as a Distinct Field in Oxford Handbook of Media Psychology ​The Impact of Social Media on the Success of the Twilight Saga." In The Psychology of Twilight
  4. 4. 4| What is a Brand? ​Traditional definition: ​Includes things like a name, a term, symbol, or design ​Can also apply to ​ Companies, Products, Services, Ideas, Campaigns, Groups, People, Social Movements Something that differentiates. Something that has a story
  5. 5. 5| Why buy a Coke?
  6. 6. 6| 6
  7. 7. EXERCISE
  9. 9. 9| Brand Formation is Circular Brand story Customer story Customer adapts & owns brand story
  12. 12. 12| Is ThisAStory?
  13. 13. 13| No, it’s a picture ​Your brain can’t help itself. It starts to fill in all the missing pieces. ​How do we know this picture isn’t a story all by itself? ​Because your story isn’t the same as the person next to you. Your brain supplies all the assumptions, the intentionality and projects action based on your own models and biases.
  14. 14. 14|
  15. 15. 15|
  16. 16. 17| Why Tell Stories? § Language of the brain § Connect us with universals, symbols, myths & metaphors § Provide a context for memory § Define the world and our place in it § Bridges differences, creates trust
  17. 17. 18| rational emotion instinct
  18. 18. 19| 95% 5% 19
  19. 19. 20| AGood Story § Purpose § Emotional Engagement § A Hero § Catalyst § Conflict § Transformation § Resolution
  20. 20. 21| Yes Yes Yes Yes Yes Yes YesYes Yes Yes Yes Yes No 12 out of 13 Want Brands to Talk Story
  21. 21. 22| StoriesAre Efficient ​Use the information stored in the receivers brain: • Archetypes • Metaphors • Experience • Cultural references • Not everyone will define “hero” the same way, but everyone will have an understanding of the hero.
  22. 22. 23| Assumptions: Brand Story ​Brands are stories that expand functionality into symbolic meaning ​Consumers use brand stories to satisfy their own desires and to create/extend their identity ​Brand-consumer relationship is both social (active) and parasocial (projection)
  23. 23. 24| The main reason to tell stories: People don’t want more information They want Faith
  25. 25. Cognitive Shortcuts I’m lazy I have a bunch of unconscious rules and models I assume others are the same as meI use what I know best -- me I prefer less choices
  26. 26. 27| Assumptions: Archetypal Impact ​The most powerful and iconic brands embody archetypes ​Archetypes extend communication to cultural values and meanings ​Archetypal patterns become filters for understanding events ​Myths: • Simple stories with archetypal roots • Help people make sense out of the world • Provide ideas to live by • Resolve life’s most difficult questions • Icons are encapsulated myths
  27. 27. 28| Archetypes Fuel All Powerful Stories ​Music ​Movies ​Art ​Brands ​Product Categories ​For example, the dominant archetype perceptions in auto brands: ​Over 50% assigned Explorer or Everyman
  28. 28. 29| Carl Jung’s Archetypal Theory
  29. 29. 30| Stereotype Archetype Rooted in culture-specific norms that are simplistic & undifferentiated Rooted in universal truths that are rich & distinctive Source: Jon Howard-Spink in Using Archetypes to Build Stronger Brands
  30. 30. 31| Common Archetypes ​Hero ​Mentor ​Outlaw ​Caretaker ​Creator ​Magician ​Trickster ​Innocent/Child ​Lover ​Explorer
  32. 32. 33| Archetypes in Culture Anna Nicole Smith ​ Rags to Riches (Cinderella) ​ Gold Digger/How to Marry a Millionaire (Siren) ​ Live Fast/Die Young (Rebel)
  33. 33. 34| Archetypes Transcend Time & Place NIKE:HERO
  40. 40. 41| Archetypes & Motivation MOTIVATION STABILITY/CONTR OL BELONGING/ENJO YMENT MASTERY/RISK INDEPENDENCE/F ULFILLMENT Creator Jester Hero Innocent Caregiver Regular Guy/Gal Outlaw Explorer Ruler Lover Magician Sage Customer Fear Financial ruin, ill health, unconscious controlled chaos Exile, orphaning, abandonment, engulfment Ineffectuality, impotence, powerlessness Entrapment, selling out, emptiness Helps Customer Feel safe Have love & community Achieve Find happiness Mark, M., & Pearson, C. S. (2001). The Hero and the Outlaw: Building Extraordinary Brands through the Power of Archetypes. New York: McGraw Hill. P. 18
  41. 41. 42| 12 Core Archetypes Applied to Brands ACHIEVEMENT STABILITY INDEPENDENCE & FULFILLMENT BELONGING & ENJOYMENT Ruler Outlaw HeroMagician Everyman Lover Jester CaregiverCreator Innocent Sage Explorer
  42. 42. 43| Archetypes Define Brand Dynamics
  43. 43. 44| Find YourArchetype •What is the image that comes to mind? •Foundations of the brand •The values that drive the company •The brand personality •Single goal of the brand? •The personality of the brand? •What is the voice of the brand? •Eliminate all that don’t fit •Select most similar •Identify discrepancies and alignmentsEXERCISE
  44. 44. 45| AboveAll: Be True to the Story
  45. 45. THANKYOU ​Dr. Pamela Rutledge
  46. 46. 47| MEDIA PSYCHOLOGY PHD Fielding Graduate University
  47. 47. 48| FACULTY Dr. Karen Dill-Shackleford Social psychologist, dissertation on video game violence effects; influence of positive and negative portrayals of race and gender in the media and on communication about domestic violence Dr. Garry Hare Advocacy, media and political psychology; the impact of media on international conflict resolution; the impact of television on social and political ideation; the impact of radio and the web on local policy; editorial cartooning. Dr. Jerri Lynn Hogg Social impact of technology and new media including: Social Media, How we communicate in a digital world, The Digital Classroom, Augmented Reality, Media Literacy and Media Reform. Dr. Pamela Rutledge Psychology of storytelling and narrative in message, branding, and persuasive; the application of neuroscience, cognitive psychology, and positive psychology to the media development. Dr. Jason Ohler Distance learning and e-learning; online community; assessment of technological impact; digital/oral/written literacy; digital storytelling and narrative development; new media. Dr. Regina Tuma Psychology of social media; aesthetics, social media and the psychology of cognition; psychology of Big Data; social representation theory, the thinking society and minority influence; history of media psychology Dr. Daniel Sewell Cognitive psychology, Intersection of media and cognitive psychology, Research methods, Statistics
  48. 48. 49| ADMISSIONS Admission Criteria ​A bachelor’s or master’s degree from a U.S. college or university accredited by a regional accrediting agency or one recognized by the U.S. Department of Education and the Council for Higher Education Accreditation ​A minimum undergraduate grade point average (GPA) of 3.0 Admission Application – Spring 2017 Application Deadline is October 28, 2016 ​Application form ​Application fee ​Two (2) Letters of Recommendation ​CurriculumVitae ​Statement of purpose ​Critical Thinking Writing sample ​Official transcripts in sealed, unopened envelopes ​International transcript evaluation (if applicable) All application materials become the property of Fielding Graduate University. We encourage you to keep copies for your records.
  49. 49. 50| TUITION AND FINANCIAL AID Tuition Information (9/22/16): ​Current tuition is $27,180/year. ($9,060/term) ​Additional costs for sessions, travel, hotel, supplies, and books For more information: Financial Aid Information: For more information, scholarship opportunities and information links:
  50. 50. 51| TRANSFER CREDITS Up to 20 transfer credits Requirements ​Courses must be master's or doctoral level from a regionally accredited college, university, or professional school. ​Taken within the past five years. ​Grades in the courses must be B or better Procedure ​At the time of admission, or during your first term, submit an application to transfer credits
  51. 51. 52| RESIDENCY ​8 days of face to face academic credit required during the program ​Many opportunities for face-to-face and group program activities to meet requirements and expand your doctoral studies ​Regional gatherings (clusters) of students and faculty ​Once per quarter, either on the East Coast, West Coast or Mid West. ​National Sessions ​National and Research Sessions
  52. 52. 53| HOW LONG DOES IT TAKE? ​The Media Psychology PhD program is self directed, so completion time depends on you: ​Motivation ​Organization ​Planning ​Previous knowledge ​Time available ​The program is designed to take anywhere from approx. 4-6 years to complete. ​At the minimum required level (18 units per year), you will complete the program in about 5 years
  53. 53. 54| COURSE STRUCTURE There are three terms per year and you are required to complete a minimum of 18 units per year to maintain good academic standing. Courses are done in the following ways and may vary depending on faculty and the course: MOODLE SEMINARS- have a specific start and end date within a term.These courses tend to be a bit more structured with weekly assignments and discussion.The number of students vary depending on the faculty and course, but it is typically not more than 12-15 students. Most of the work can be done asynchronously. INDIVIDUAL ASSESSMENT CONTRACTS- A few courses can also be contracted for on an individual basis.You will contact that faculty member to create a contract that will go throughout a term on how you will show competency so the length can vary.This is typically done through research, reading, and writing papers but can include presentations and conferences as well. Most of the work is done asynchronously. We recommend you have a minimum of 20 hours a week to spend on coursework. The length of courses will vary, but they typically last one term You may be working on several courses per term The assignments will vary depending on the type of course and faculty
  54. 54. 55| GRADUATION REQUIREMENTS Total = 94 units For more detailed curriculum information and course descriptions:
  55. 55. 56| WILL I HAVE ANY SUPPORT? Absolutely! ​Each student has a primary faculty advisor who works closely with you through program. ​Students are also assigned a student mentor that you can contact for any questions or advice about the program. Administrative support in Santa Barbara: • Graduate Program Advisor (GPA) • Program Manager • Program Director
  56. 56. 57| CONTACT INFORMATION Dr. Jerri Lynn Hogg Media Psychology Program Director Juliana Hydanus Media Psychology Admissions Advisor OR 805-898-4020
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